The fascinating journey into the history of the Renaissance is most often a ocean crossing in a rich culture, art, traditions, but also of glitz, games and dances of the court. Glimpse era between the late medieval and early modern period, ie about two hundred years between the fifteenth and sixteenth century, the Renaissance marks the apogee of creativity, of an intense artistic movement. A true "renaissance" that implies the idea of \u200b\u200bawakening, much as the spirit of the classical forms. This meaning was coined by Giorgio Vasari in his book "Lives of 'best architects, painters, sculptors et Italians, by Cimabue, even to our times." The art exploded as never before and he did so with the language of distinguished painters, great sculptors of imaginative architects, but also through the regenerative power of dance. In medieval dance, which at an early period was also practiced in buildings as part of religious rituals and the accompanying songs, underwent the sentence of the ecclesiastical authorities who saw in his practice the danger of lust of the costumes, the show date moving body. E 'at the Renaissance courts that the dance becomes the fulcrum of all human events. At first the balls were interpreted only by aristocrats and royalty, in the halls or in the gardens of the palace, to enliven an otherwise dull life at court. But dancing was also a necessary social quality nobles and was part of their education from childhood. From the fifteenth century at the courts were called a few dance professionals, responsible for teaching discipline and prepare choreography for the great parties, whose splendor was intended to celebrate the power and wealth of the gentry. He was born the new figure of the professional dance instructor who taught the steps, gestures, bows and twirls. Silvana Sinisi is the author of "The history of Western dance." The expert on relations between the scene - teatro/danza- and the visual arts (his is an accurate text, which analyzes the dance in an interdisciplinary perspective) writes an entire chapter about the dance masters. The first great teacher and theorist of dance, says Sinisi, Domenico da Piacenza was author of the treatise "De arte et saltandi choreas ducendi. The treaty consists of two parts, a theoretical part, the second is devoted to the description of the dances he created. The most famous of the Renaissance master, a pupil of Domenico, Guglielmo Jew of Pesaro in the middle of the 400 who wrote the treatise "De seu art practices Exultant Opusculum vulgare" in which codifies the six qualities of the perfect dancer: the ability to measure time, coordination movements, the ability to remember the steps I learned, and distance limitations of the place, the place to appear; bodily movement. Thanks to these treaties, you can follow the evolution of dance during the fifteenth century and its gradual promotion of the statute that equates to the other arts in the context of aesthetics of the Renaissance. There are four main dancing codified in the treaties: the Bassadanza, the Quaternary, the Saltarello, Piva. The Bassadanza is dancing noble par excellence, practiced especially in court circles. Slow and solemn ceremonies in the preferred, provided for a variety of movements that included bows, simple steps and double smeared with his toe, "branles" (moving the body weight from one foot to another). The Quaternary widespread in Germany, was instead characterized by a rhythm track and consisted of two simple steps, followed by a joke and a recovery. The two other dances had a quick and lively character and belong to so-called high dances. Among the numerous celebrations staged by the courts concerned a large part of the princely wedding, within which were always the music and dance that developed in a short pantomime actions. In the sixteenth century the two treaties of dance, written by Italians, they made a stir and for this they were required in courts all over Europe. "The Ballarino by Fabrizio Caroso and" Grate Love "by Cesare Negri. Considered the greatest dancer of his time, the Caroso follows the standards set by his predecessors, as well as Negri, in his important book, continues the evolution of dance. The decline of the dances in vogue in the sixteenth century is accompanied by the emergence of new genres: the time, the Tourdion the bransle, the courante. An important novelty is represented by the pair closed in dances where the dancers have stopped side by side, touching his hand lightly, but they move in unison as a single person in close physical contact. The most famous, and controversial, was the time. Run consisted of Italian origin in small jumps when the couple, well connected, it did make whirling spins on itself with the final lifting of the lady. The dance will continue to evolve in the following centuries. In the Renaissance breaks the expressive power of art, which passes through painting, sculpture, architecture, but who knows what you find in the art of dance in the act will become sublime revelation of the human soul.
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